SuperCaliFashionistic: Bottega Veneta

, by Melanie

Bottega Veneta: The Good, The Bad, and The Ugly

The autumnal tempests boded ill for Bottega Venetta as the first model strutted out in white tights, T-strap sandals, a chiffon dress, and a powdered bouffant resurrected from the 18th century. A shaggy orange coat gave her an uncanny resemblance to Oscar the Grouch after an unfortunate run-in with one too many tangerine peels. The atrocities ensued with a shapeless shift matched by an equally shapeless overcoat, all in an abominable shade of burnt orange. Then came the turtlenecks. In stark white and wallpaper florals, they stretched abnormally high to stop just short of the chin, resulting in a curiously mummified appearance. Maier certainly took his time torturing our eyes - it was the twelfth look before we could breathe a collective sigh of relief at the first glimpse of bare legs. From then on, it was a smooth ride. Lace, which incited such fanatical fervor on the spring runways, proved its versatility for the cooler seasons in plenty of slinky, sophisticated cocktail numbers. It swirled over pale gray silk in a deliciously complex array of textures and gradations; in sheer panels, it simulated the textural intricacy of python. Worn over a simple corset, it was dangerously alluring (and dangerously revealing). From the gold-dipped fringe on an embroidered hem to the carefully parted ruffles on a patterned frock, Maier is the ultimate master of detail and precision. Many of his creations are so perfectly executed that it takes more than a few glances to absorb every contour and nuance. The patterns on a three-piece ensemble, for example, were so seamlessly integrated that they nearly appeared to be continuous. And the layers of a geometric shift fit together so beautifully that they created the illusion of a single, flawlessly constructed dress. But it was Maier's red carpet creations that stole the spotlight. They came carelessly slashed and pinned, pleated like origami around the waist, cascading to the floor in rich, full folds. What made them truly unique, however, was a curious paradoxical element - an unfinished, industrial feel that rendered them, if not edgy (when is a ballgown every edgy?), at least unconventional. Structured bodices appeared to be constructed from workhorse canvas, while the subtle discoloration on metallic silk mimicked the quality of burnished metal. Maier may have been slow to hit his stride, but with his four-dress finale, he more than made up for his initial missteps.